Miriam Pertegato – painter
My research is an attempt to rediscover the value of naturalness, individuality and bashfulness that is originally connected to nakedness.
My personal study develops in the everyday context, where the images of the media (particularly in Italy) continuously offer and suggest the female body as merely a decorative means.
For this reason I represent ‘normal women’ in my works, avoiding any aesthetic interest for their body. I don’t paint women with contemporary aesthetic canons, and they are shouting their nakedness exactly for this reason.
I am not interested in transgression: I very often find myself in difficulty painting explicit nakedness, and for this reason I choose diaphanous and light colors; thus the background color becomes the one of the body, as to ‘wrap’ and almost protect the ruthlessly exposed figure.
The pink color that so often recurs in my works is what I choose to soften the strong impact of my paintings.
Pink is the color that has been thought since childhood to distinguish females; pink is the color that accompanies the life of children, and that symbolizes (sometimes banally) everything concerning females.
Thus the pink background I paint is my way to rediscover the dimension of the childhood lightness and female-ness.
Pink is also the closest color to the skin and to the organic tissues; in all its endless gradations that also go to the light pink close to white, and to the deep red, it ‘wraps’ my figures in a kind of protective background, as the amniotic fluid does.
Thus my intention is not pornography, but primordial innocence. My attempt is to catch the naturalness of a figure in a private situation, and that even with the intrusion of a ‘public eye’ does not feel discomfort. My painted figure is not afraid, rather returns a fixed look, a provocation without malice.
In my research of this intimate female personality, I have also investigated and depicted children. I felt no need to have them pose naked: I tried to choose some ‘little women’ that trough their eyes were communicating to me a frank and deep personality.
In every painting I do all the background elements disappear or become minimal. The starting point of these background elements is the reality, but they loose every connection with it, and they become highly symbolic and sometimes ironic. Even the background color sometimes takes geometrical shapes so as to underline the figure.
I do not like creating a realistic context on the background: I am looking for a ‘silence’ that is not going to distract the observer for the subject of my painting.
In my works there are just people, painted in a timeless space, in a kind of intimate monumentality.
I do not know exactly what at the beginning brought me to this my poetry, but for several years I have been following and focusing on my analysis of this ‘Nuda Veritas’.
Every woman I paint is a kind of psychological self-portrait, and it is a manifesto of my artistic production; this is at the same time impulse and desire of a sincere manifestation of my way of painting, and also consciousness to be naked and exposed to criticisms. Every work is part of my personal intimacy that I am trying to explore, extrapolate and discuss. My work is an attempt to reach the truth, and at the same time to reach an impassionate pride to external judgments: this is exactly what the women feel in my paintings.